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The New Yorker Live | Save the Children’s 100 Days of Reading | Full Show

Owing to COVID-19, millions of children across the United States have been left hungry, forced into poverty, and deprived of education. Save the Children’s chief strategy officer, Mark K. Shriver, discusses the organization’s 100 Days of Reading, a campaign designed to help teachers and parents support their children during this critical time. The project aims to encourage learning through reading during the summer months, while also providing much needed support and resources to families in crisis. Shriver is joined by the award-winning poet and children’s-book author Kwame Alexander and the New Yorker cartoonist and author Liza Donnelly.

Photographer Sebastião Salgado puts in images the music of Villa-Lobos conducted by Simone Menezes, this evening at the Philharmonie de Paris

Photos of Sebastião Salgado to accompany the music of his illustrious compatriot Heitor Villa-Lobos (1887-1959): this is the enticing program of the Amazon Forest concert offered on Tuesday evening, August 31, at the Philharmonie de Paris. The show is part of the long-planned "Amazônia" days, postponed due to Covid-19 and launched with panache on Saturday evening by Caetano Veloso , echoing the great Salgado Amazônia exhibition which ends at the end of October.

It is the suite A Floresta do Amazonas ("the Amazon forest") by Villa-Lobos, a work from 1958, which will be accompanied by a projection of photos by Sebastião Salgado. Previously, the public will have been able to hear in the first part another score by the Brazilian composer, the prelude of Bachianas Brasileira n ° 4 (piece written between 1930 and 1941) and a work by Philip Glass, Metamorphosis 1 , extract from Aguas da Amazonia (2006 ). For this concert, the Italo-Brazilian Simone Menezes will conduct the Orchester de l'Opéra de Rouen Normandie and the Orchester régional de Normandie , with soprano Camila Titinger as soloist. Franceinfo Culture met the photographer and the conductor.

A member of the indigenous peoples of the Amazon (SEBASTIÃO SALGADO)

Franceinfo Culture: How was the project of the A Floresta do Amazonas suite by Villa-Lobos born, illustrated by your photos?
Sebastião Salgado : I had already used parts of the Bachianas Brasileiras by Villa-Lobos in a projection on the Amazon. I was very motivated to work with his music on our Amazon project. The idea of using this wonderful suite was born during a meeting with Emmanuel Hondré [director of the concerts and shows department of the Philharmonie de Paris]. It is music of immense dimension for projection of photographs. The concert hall is so beautiful. We will have a special screen for photos, which is about twenty meters.

How is such an operation prepared, how do music and photography work together?
Sebastião Salgado   : It is a big question to use the photos with the music … Rarely, the length of the musical phrase adapts to the length of presentation of the image. As I do a lot of projections, I listen to a lot of music in order to find pieces that adapt to photography. Not all music is suitable. The photography should not be detrimental to the music. And the music shouldn't overwhelm the photography, it should almost be a common thread. This dream had to materialize. When I listened to the suite of Villa-Lobos, I said to myself: it works. Simone Menezes provided me with the music. Emmanuel Hondré has broken down the rest for me, it is made up of nine parts. And there, I started listening to each part, several times, to see what photos could be associated with it.

What did you discover by listening to these different parts?
Sebastião Salgado   : Something fantastic. I realized that some of her stretches were completely feminine, to the point where not a single male photo could be associated with it. I then imagined a female sequence. Afterwards, I discovered other sections of the suite that were deeply masculine. The hunt … The conspiracy … It is the men who lead it. Conspiracy music is
totally masculine. In that space, there was no room for a single woman!

Did you have difficulty illustrating certain sequences?
Sebastião Salgado   : When Villa-Lobos composed this piece, we still had a lot of sailing boats in the Amazon, for long journeys. Part of the suite is dedicated to sailboats. However, we no longer have any today. I have never taken a single photo of a sailboat in the Amazon! But I have clouds that make sails. All this part about sailboats, I turned it into clouds, it works perfectly. There is also a part that talks about the forest fire. But these are not the men who set it on fire. The forest burns with the great falling sparks. I used photographs, which are currently on display at the Philharmonie, and which are almost volcanic eruptions, atomic explosions.

Conductor Simone Menezes (Daniela Cerasoli)

If the music inspires so many images, is it perhaps because the score was originally written for a film ( Vertes Demeures , 1959)?
Simone Menezes : The piece, which was long – an hour – and which was reduced to 45 minutes for the presentation, was actually composed for a film. But at the time, Villa-Lobos, who was a certain age, didn't care what people thought, he wrote the music the way he wanted! His score did not "match" for the film, because it was … too true [the music was rewritten, remodeled for the film, by Bronislau Kaper]. Then it was a little forgotten, remained in handwritten version … It has only been five years since a new edition was released. Since then, orchestras can finally include this piece in their repertoire. This gave the opportunity to rediscover this music. The most interesting thing about looking at the images of Salgado is that you have the impression that the music was not composed for a film, but written quite recently!

Has the project already been presented to the public?
Simone Menezes: The very first presentation took place in Rouen. No one remained indifferent, people had tears in their eyes … The music of Villa-Lobos has two very strong points. The first is lyricism, very deep. There is a nostalgia that comes a bit from the legacy of fado. At the same time, there is a complexity of rhythms, of superimpositions, which give the idea of a music that takes up space, a music of landscapes like the music of Jean Sibelius. With the combination of the images, you really get that feeling.

Were Villa-Lobos' scores very written, detailed?
Simone Menezes : Villa-Lobos was a very intuitive personality … He was able to write very complex music with a radio on, a singer next to it, the barking dogs … And then he didn't revise what 'he had written. The Brazilian Academy of Music has made a reissue. But despite that, we worked a lot on the score … We are sure that after this project, this music will enter the symphonic repertoire.

Sebastião Salgado : It is our great hope. Because the music of Villa-Lobos is very little known. We know the Bachianas and it almost stops there. In Europe, the great French artists had France behind to promote them, the Germans too … Poor Villa-Lobos had no one behind him. Brazil did not push him. There is no cultural policy. For us it was an opportunity to present another aspect of Villa-Lobos. Another fabulous piece is performed in a room at the Amazônia exhibition. If we can help with the dissemination of Villa-Lobos, we will be very happy.

Concert "Amazonian Forest" at the Philharmonie
Tuesday August 31, 2021 , 8:30 p.m.
(Preceded by a conference at 7 p.m., which is sold out)

“Muscle”

Sohel walked around the garden, thinking of his parents. A November wind, fresh and almost chilly, blew through the hundred-year-old rosewood trees that stood at one end of the garden, home to a vast swarm of crows, which came from miles around at evening and settled in noisily. Yes, this was home to him too, as much as Lahore was home. He’d been based here at Dunyapur since June, and now it was November. Every three weeks he drove down to Lahore in the ragtop Land Cruiser, which had no air-conditioning and was incredibly hot in summer, but rather pleasant now in the cool fall days, smoking cigarettes, sharing cigarettes with Mustafa, his driver—or, rather, Munshi Zawar Hussein’s driver, who came to Sohel on secondment. In Lahore, however, the large, fusty house made him sad. The old bearer brought in the cocktail trolley that all through his childhood had signalled the commencement of his father’s daily drinking session, tinkling into his parents’ sitting room. He had no close friends, only a cousin who would invite him over for a drink, a few others, five or six whiskeys, rolling up joints of black-tar hash. Sent abroad at thirteen, he had lost touch with the boys his age who had gone through grade school with him.

The following afternoon, Sohel sat in the garden, wisps of trailing cloud screening the pale blue sky very high up, the sun just too warm for a sweater. He heard the slamming of car doors. Munshi Zawar Hussein must be back. Two cars stood in the circular drive, not intruding into the curving portico. Walking down the steps into the sunlight, Sohel went to embrace Malik Sarkar, a tall, very straight-backed man with one of those lined faces that are old yet seem boyish, a boy grown old, wearing an immaculate white dhoti wound around his waist, a costume that very few wore anymore, a man of the fading generation. He held Sohel with one hand on each shoulder and looked into his face, studying him, then broke into a smile.

“Mian Sahib, you look exactly like your grandfather now that you’re almost grown.”

“The way he looked at my age, I suppose, which you would know better than anyone.”

“I served him then, I serve you now.”

The Maliks from Khirka had been Sohel’s family muscle for a claimed six generations, called out when some land mafia threatened a property—force used against crude force. Their dera lay outside Lahore, but within striking distance, and for generations they had preyed upon the weak and the foolish in that city, like wolves circling a herd of bison and pruning out the stragglers, serving themselves and also serving Sohel’s ancestors, symbiotic. For Sohel’s family, certain challenges could be met no other way, with holdings so large, shops and tenements in Lahore, or strips of city land liable to adverse possession. His grandfather had treated Malik Sarkar with a ceremony just a degree less formal than he reserved for the heads of great families, the Tiwanas or Noons or Qizilbashes, the Mians of Bhagbanpura. Sohel had once asked his grandfather about such distinction bestowed on a killer, and was told sharply, “These are hard men who served us in hard times. They’ve done what we couldn’t do. They live on their pride, remember that, young man. I’ve never once failed to ask Malik Sahib to be seated when he visits me, and he’s never once accepted. Or only once, when they hanged that poor boy.”

Three men emerged from the second car, a beat-up old Toyota Corolla. They stood stretching, spitting, adjusting their balls, retying their turbans, looking around at the house with its rounded portico and columned veranda, the massive old rosewood trees filled with a chorus of bulbuls and crows, parakeets that fed on the guavas, sparrows hopping around in the dusty curving driveway, enjoying dust baths in the warm sun reflected off the whitewashed building.

A fifth man stood behind Malik Sarkar. He alone was dressed in city clothes, a starched white shalvar kameez, paired with a blue blazer, like a senior district official or a sharp businessman of the rising class.

“My nephew,” Malik Sarkar said offhandedly, gesturing at him. “Take a look—even the Maliks of Khirka have become gentlemen in this generation. Rather, my grandnephew. Malik Sharif.”

The man, six or seven years older than Sohel, stepped forward and made a formal obeisance with the old feudal gesture, bending his knee slightly as he took Sohel’s hand in both of his own. His slender figure and the quickness of his movement lent him grace, and he finished it with a disarmingly sweet smile showing his small, very white teeth.

Sohel had debated with himself the delicate question of whether Malik Sarkar should be lodged in the guesthouse—which ordinarily would not be offered to a person of his class—or in the dera, the complex of buildings and stores in the village itself where lower-status guests would be entertained by the munshis and brought to meet his grandfather as required. Under the circumstances, better to bow too low, he had concluded, than not low enough, easing his sense of propriety with the thought that Malik Sarkar had been of his grandfather’s generation.

“I’ll say my prayers now and rest, thank you,” Malik Sarkar said, “but I’ll go back to Lahore this evening. Old men don’t like to spend the night away from home. If I am to die tonight, I wish to be in Khirka.”

At tea, Sohel contrasted the old man’s dignified bearing with his rough manners, pouring tea into the saucer and slurping it up. When Sohel insisted that he at least stay for dinner, Malik Sarkar couldn’t manage a fork and knife, but called for chapatis and ate with his hands.

“This is no time to be on the K.L.P. road,” Sohel said, when Malik Sahib took his leave. “You won’t be home before dawn.”

Malik Sarkar made his only reference to his calling. “Don’t worry, Mian Sahib. Men like us are accustomed to travelling in the night.” When Sohel had broached the Chandio issue, Malik Sarkar said, “Tell this all to my grandnephew. Now these boys handle everything. I’ve only made this journey to pay Mian Abdullah Abdalah’s grandson my respects. You summoned me and I came.”

Young Malik Sharif did not eat dinner with them, and he kept back in the shadows when Sohel saw off the old Malik. Sohel remembered so many other nighttime departures from this veranda, returning to Lahore after a week’s sojourn with his father and mother, last drinks and running late, a line of jeeps sputtering and spicing the air with their exhaust, managers waiting to say their salaams, off to catch the up-country train from the old colonial railway station at Cawnapur—the Khyber Mail, Tezgam Express.

Turning just as he stepped into the car, Malik Sarkar took Sohel’s face in both his hands, almost tenderly, and said, “This is my first visit to your family’s Dunyapur. This land is your gold mine. Thank you for showing it to us. And don’t worry, we’ll settle everything now.” The look that passed across Malik Sarkar’s face reminded Sohel that he had certainly killed men in his long career. His flamboyant mustache extended from tight lips, a thin mouth. “Now you will be the one we call Mian Abdalah, since your father and grandfather have left us.” Then he kissed Sohel on the forehead, and touched his head, a gesture of blessing more commonly extended to a daughter or a niece or a young child.

When Sohel asked at breakfast if Malik Sharif had eaten, Fezoo replied, “What can I say, Mian Sahib? They asked for food at two in the morning, and they called me twice more to make tea. They kept saying, ‘What’s this watered-out railway-station tea?’ Everything’s a joke to them.”

After breakfast Sohel walked with Zawar Hussein on one of the distant farms, where they would not run into the Chandio brothers. At lunchtime, Malik Sharif still had not emerged, though he and his men had called for food, so again Sohel went out, now rather annoyed. He carried a revolver, his grandfather’s Webley from his service days, as he walked among fields of mature sugarcane standing more than head high. The land, so flat, so dusty, had a mood that he loved at evening, when the light settled down upon it, and he thought of the horizon, of the desert just to the east, open there all the way to India, to Jaisalmer, Bikaner. He felt his family’s uncertain place here as a longing. The people still called them Punjabis, implying that they were carpetbaggers from the north—the villagers all long settled here, most of them Riyastis, lieges to the Bahawalpur nawabs whose reign had passed just a few decades ago.

Driving into the dera, he saw Malik Sharif sprawled on a chair in the sun, reading an Urdu newspaper, and his three men on a charpoy. The young man’s shalvar gleamed white, his shoes polished as if dipped in some bright substance, hair smoothed back and rather long, foppish. He had no more the deferential air that he assumed in front of his granduncle, but strolled up to Sohel wide-armed, an easy, open approach.

“Mian Sahib, oh Mian Sahib. You farm like an Englishman! Our people never bother going out to their lands.” He gestured around at the dera. “Why not do your business here? There should be guys tied upside down in the trees and a line of their families come to beg their release.”

His men continued to lounge on the charpoy, one of them smoking a hookah. “Get up, you donkeys! Are you blind, or didn’t you see Mian Sahib come in?”

They grunted themselves up, grinning broadly. One of them carried a stubby little Kalashnikov, cradling it under his arm, barely showing.

“Glad to see your men came prepared.”

“What can I do? I have so many enmities.”

“I hope I don’t add another one to your list.”

“Don’t worry, your Chandios are just a snack for my boys.”

“Come to the house and have tea. Let’s talk it over.”

“I didn’t know the lands around here were so rich,” Malik Sharif said. They were sitting in the middle of the garden that fronted the house, looking onto the cricket pitch laid out by Sohel’s father. “This garden itself would be a good-sized field, if you put in sugarcane.”

“That’s a fine idea, Malik Sahib. I’ll plow up the flowers and put in something better paying.”

Malik Sharif looked at him sharply. “Do you really think so, Mian Sahib?”

“I was planning on getting some horses, actually. I could graze them here.”

“That’s better. It’s a good safe place for riding if things get ugly. You wouldn’t want to do that out on your farm with the Chandios and the Kandios and the Bandios and God knows what else. Thank God for your nice high wall. But you need more guards. You don’t have any fighting men at all.”

“But I have you!”

“Yes, you do. And lucky I’m here. We need to show these Chandios exactly who’s boss on this farm. Then you’ll be free to ride wherever you want. After my fellows are done, these bastards will salute you by shitting their pants when you pass by.”

Sohel winced at the phrase, yet he felt almost for the first time since he came to the farm that with these goondas he outgunned the many desperate men plaguing the district. Going out on the farm that morning had been an act of bravura. Walking through alleys of sugarcane, he had been thinking that surely the Chandios must have a plan of escalation, if they had gone to such extremes as to beat up his childhood caretaker.

“In a minute I’ll call in Munshi Zawar Hussein,” Sohel offered. “The Chandios have a pretty good connection with the S.P. in Cawnapur. As you know, under their uniforms the police are cousins to the thieves. That’s why I didn’t bother calling them before I sent to Malik Sarkar Sahib.”

Malik Sharif looked at Sohel appraisingly.

“You didn’t call them, eh? Better not to unless you know they’ll come. And another thing. Your Zawar Hussein is too clever by half. He’s been here for quite a while, I gather. We always say, rich men’s sons with new cars and old munshis soon end up losing it all. You should change your manager every two years. But let’s not worry about him; we’ll sort him out later.”

This tickled Sohel’s sense of loyalty to the manager, almost family over the years.

Will Joe Biden pay a political price for America’s disorderly withdrawal from Afghanistan?

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Midterm elections are a year away, and foreign policy rarely moves voters

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AUGUST 31ST marked the end of America’s 20-year campaign in Afghanistan. It also marked the end of President Joe Biden’s worst month in office. The electorate’s mood had long soured on the intervention; ending the “forever wars” was a campaign promise of both Mr Biden and of Donald Trump. Even so, many Americans were appalled once the immediate ramifications of withdrawal became visible. They included the swift collapse of the Afghan government, the scenes of human tragedy during the evacuation at Kabul airport and the Islamic State Khorasan Province (ISKP) suicide bombing soon after that killed at least 180 people, including 13 American soldiers. Mr Biden would desperately like to turn to the next chapter of his presidency. It will not be so simple.

In a speech to mark the day, Mr Biden was at turns angry, defiant and unrepentant. He began by lauding the evacuation effort as an “extraordinary success.” “No nation has ever done anything like it in all of history,” he boasted. To critics who argued the extraction could have been better handled, the president said “I respectfully disagree”. Those who insisted that a low-grade deployment of American soldiers could have remained did not understand that there was no such thing as low-grade war, he countered.

“I made a commitment to the American people that I would end this war,” he said proudly. His speech was steeped in brutal realpolitik, almost Nixonian. Mr Biden argued that America had essentially squandered $2trn in a country that had long ceased to present any clear national-security interest, and in the process had spoiled America’s ability to deal with modern challenges like China and Russia.

The stain of Vietnam kept Lyndon Johnson from seeking re-election. Things are not that bad for Mr Biden, but his presidency has taken a clear blow. On August 1st he held a net-approval rating of 8.1 points, according to an average computed by FiveThirtyEight, a data-journalism outfit. By the end of the month, Mr Biden was slightly underwater at -0.4 points (our polling—see chart—shows a smaller decline). Part of this may be due to what political scientists call “differential partisan non-response”—essentially the tendency for partisan supporters to shirk pollsters when their man is having a bad week, or a bad month. Most presidents face a gradual drop in approval after the honeymoon period of the inauguration, and Mr Biden was no exception to this trend, perhaps as a result of the sudden strength of the Delta variant. Still, an abrupt 8.4 percentage-point slide is not easily shrugged off. For comparison, in the aftermath of the attack on the Capitol on January 6th, Mr Trump suffered a ratings slide of nine points, albeit from a lower base.

It’s clear that Americans are blaming the president for his mishandling of the Afghan situation, despite his defiance. Polling from YouGov (taken before the ISKP attack at the Kabul airport) shows that just 33% of Americans approve of the president’s handling of Afghanistan. Only 16% of Americans (and, remarkably, just 28% of Democrats) say that the evacuation has been handled well (see chart). Such is the pall cast by the chaos, that even the public’s firm anti-interventionism looks to be shaken. At the start of July, an overwhelming majority of Americans, 70%, supported the planned withdrawal of all troops by September 11th, 2021. Now they are evenly divided on whether leaving was a mistake.

Public opinion is shaped by elites, and Mr Biden has taken sustained criticism from all quarters. That from Republicans was expected, even if inconsistent with their approval for the withdrawal agreement struck by the Trump administration with the Taliban. Having previously criticised Mr Biden for not adhering to Mr Trump’s earlier deadline of complete withdrawal by May 1st, Josh Hawley, an ambitious Republican senator, has now called on Mr Biden to resign. But Democrats in Congress have also condemned the administration’s planning as riven with “failures”. Their committees are planning to investigate the debacle. Mainstream news outlets, which Democrats still trust, turned against Mr Biden in a way that the conservative media never did against Mr Trump.

If Mr Biden is at the nadir of the Afghan affair, his presidency is salvageable. Slides in approval ratings can revert. Americans have relatively little interest in foreign affairs. Even now, they rank national security as only the seventh-most-important issue for the country. The next opportunity for voters to punish Mr Biden will be in the midterm elections held in November 2022—an eon away in American politics. Even if his foreign-policy judgment looks much more questionable now, American voters have not decided an election principally on that point since 2004.

But the Afghan debacle could still linger. Republicans are split over whether to criticise Mr Biden for leaving allies behind or allowing floods of Afghan refugees into America (though, like all refugees entering America, they will be thoroughly vetted). Scenes of women being abused or forced into burqas could also prove politically damaging, as could stories about Afghans who helped Americans but were unable to leave the country being killed. And the White House estimates that fewer than 200 Americans who wish to leave remain in the country (for all the criticism of the evacuation, America and its allies got 120,000 people out of Afghanistan after the government collapsed). If any of them were to be harmed, especially by ISKP, it would trigger another harsh round of criticism.

September is supposed to be a different sort of month for the White House. Mr Biden’s proposal to “build back better” after the covid-19 pandemic by spending $4trn on infrastructure and a much-expanded safety-net will be thrashed out in Congress. Turmoil abroad is unlikely to alter the Democratic calculus on stimulus because of a slide in the president’s approval ratings, and Mr Biden is not so odious to his party that he will suffer major defections over his domestic agenda. And Democrats already needed little extra incentive to quickly cobble together a passable package. Time is not on their side. Since 1935, only two incumbent presidents have improved their party’s congressional margins in midterm elections. Unified government is a rare gift in Washington. Democrats are unlikely to let it go to waste.

Watch a Scary Story Come to Life in ‘Candyman’

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In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.


“Want to hear a scary story?”

That enticing question (or horrifying one, depending on your point of view) begins this scene from the new “Candyman” (now in theaters), which is both a continuation and a reimagining of Bernard Rose’s 1992 horror film.

The update is directed by Nia DaCosta and co-written by Jordan Peele (with DaCosta and Win Rosenfield). It still involves the menacing figure who comes after you if you say his name five times in front of a mirror, but this scene reaches back to the story of the original film.

Brianna (Teyonah Parris) and her brother, Troy (Nathan Stewart-Jarrett), are both hanging out one evening with their boyfriends when Troy turns down the lights and turns up the dread to tell a story. It concerns Helen Lyle, one of the main characters (played by Virginia Madsen) from the earlier film, and how one day she just “snaps.” Killings and snow angels in blood ensue.

Troy’s story retraces the steps of the earlier film’s narrative, with some embellishments. Rather than flashing back to footage from the 1992 movie, moments are depicted with shadow puppetry. Narrating the sequence, DaCosta said that she wanted each shadow puppet segment to “be specific to the teller” because she saw it as “someone’s way of thinking about the story. It’s not necessarily the truth.” In this scene, hands move the puppets to convey a sense of how the storyteller, Troy, is also manipulating his tale.

Read the 2021 “Candyman” review.

Read the review of the 1992 film.

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9 Artists Who Made Major Gallery Moves This Summer

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Zvavahera joining the gallery came amid rising demand for the artist’s expressive brushwork on the primary and secondary markets in the past year. In October 2020, at the virtual edition of Frieze London, the gallery offered a 2020 painting of Zvavahera’s, THIS IS WHERE I TRAVELLED [4]. The oil on canvas work, rife with vibrant colors and elaborate swirling patterns, sold for $100,000. That price represented a significant markup from Zvavahera’s July auction debut, where her painting of two figures embracing against a sea of teal and black, Pakatangira Rudo (Where Love Began) (2014), sold for its high estimate of ZAR$350,000 (US$21,000) at a Strauss & Co. evening sale. Zvavahera’s celestial paintings next hit the auction block a mere 10 days after her presentation at Frieze London, at a Phillips evening sale in London. There, the artist’s work Arising from the Unknown (2019)—in which a human silhouette is swallowed by a swath of blue—fetched an astonishing £163,800 ($212,121). The work sold for nearly three times its high estimate and set a new auction record for the artist. That shocking rise is also reflected in Artsy’s data: Demand for Zvavahera’s works was stagnant up until last year, when the number of collectors inquiring on works by the artist more than quadrupled.

Colmar, open-air museum: monumental frescoes are multiplied on the city walls

After a first series in 2018 and 2019, around ten frescoes have appeared in recent months on the gray walls of the building housing the municipal workshops and around ten more are already planned for next year.

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The Alsatian city could well become, in the coming years, an essential place of pilgrimage for all lovers of street art. If it has not already started … Since 2018, dozens of frescoes have emerged in Colmar, the last having recently appeared on the walls of municipal workshops. 350 m² of surface offered to the talent of artists by the municipality. And new works are already planned for next year, at least ten, thus transforming Colmar a little more into an open-air museum of this developing urban art: street art.

Colmar: street art beats the pavement

This movement was born under the impetus of Nathan Tschaen , creator in Colmar of the Villa Tschaen , a gallery dedicated to street art. With the city and many other partners, he is carrying out this ambitious project with the desire to share his passion for street art: " The idea is to share this with as many people as possible, to use public space. to put art and develop access to culture; it is above all an idea of sharing ", specifies the young gallery owner of 28 years who knew how to attract talented artists.

Artists from here or elsewhere delighted with the conditions offered to them and above all, assured that their work will not be ephemeral but will remain visible for a few years as the gallery owner explains: " We try to prepare the medium as best as possible before when the artist arrives, we provide him with quality material, and when he has painted, we come to varnish at the end. The idea is to keep the frescoes for at least ten years ".

Nia DaCosta on ‘Candyman’ and the Power of Terrifying Legends

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There was an outpouring of love when it was announced that you were directing “Candyman,” yet your name was omitted from many initial headlines, which upset those fans. What was your reaction to all of that?

So, I try not to read anything because the bigger the things I do, the more pressure it is. The pressure can be so distracting and overwhelming, and it can stop you from doing well and consume the process. And, probably to a fault, I can be a bit self-deprecating. [Laughs] I was prepared for no one to care that I was a part of it. I didn’t really think about it much until people on Twitter were like, “Excuse me, it’s Nia DaCosta’s ‘Candyman.’” I was like, “Oh, that’s really sweet.” I’m sure if it were another female filmmaker, I would have been doing the same thing. Like, “Hey, you should probably be talking about the woman making the movie, not just the guy who’s more famous.”

Speaking of navigating pressure, I would imagine taking on “Candyman” was daunting because fans are so protective of it. Did you have any hesitation?

I was really excited because Jordan Peele was co-writer and a producer — no-brainer. So, I felt really safe in the process because I’m a huge fan of his. But then, of course, reality sets in. It’s not even, like, “Oh, the fans really want. …” It’s a studio film. They have what they wanted to do, which is basically make a trillion dollars and be critically acclaimed. I think that was when I was like, “Oh, no.” Then you have the community that I made the movie for, which is my community in a macro sense — the Black community. But then in the micro sense, a community I’m not a part of, the Cabrini-Green community. So, there are a lot of people that you want to do well for, and that can be daunting. But I think I just wanted to end with an open heart and humility as a fan of the original “Candyman,” as well as a respect for what we’re portraying. I have to have faith that would guide me to do the best I could.

What kind of research did you do on Cabrini-Green?

A book that was the first touchstone for me was “High-Risers: Cabrini-Green and the Fate of American Public Housing” by Ben Austen. That was really amazing, because I like to have some historical point of view, especially with what the movie was about — the history and what makes history repeat itself and the history of race. Then we had an amazing historian and researcher on the film. And absolutely going into the community, starting out with just standing and walking around, then talking to people who live there, and the people who had to leave, and hear their stories.

Rachael Leigh Cook Was Always Worth the Bet

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Rachael Leigh Cook is having a full-circle minute. Twenty-two years after she came down a stairs in a little red gown to the beat of Sixpence None the Richer, the “She’s All That” starlet locates herself once more in a teen remodeling movie.This time, she’s

on the edge as the mommy of an influencer (played by Addison Rae) in “He’s All That,” Netflix’s gender-flipped remake of the 1999 hit that starred Cook as well as Freddie Prinze Jr. And also this time around it’s a wacky kid that sputters a variation of Cook’s traditional line, “Am I a wager?

Now 41, Cook was at first cynical concerning signing up with the brand-new movie, stressing, “What if my function is run out to signify to everybody that could have been a follower of the initial flick, ‘She stated it’s OKAY! She’s still to life, isn’t that enjoyable?'”

But Cook isn’t simply active. She’s prospering. As well as her little component in “He’s All That” is just one pen in a decades-long profession that consists of celebrity kip down several of millennial target markets’ most valued movies and also an irreversible location in the pop-culture zeitgeist of the ’90s as well as very early 2000s. Currently, she’s prepared for a brand-new era.Cook, as you may anticipate from the relatable duties she’s understood for, has a flair

for making complete strangers seem like she’s their friend. Putting on a large T-shirt as well as set down on a rattan chair at her bro’s residence in Los Angeles, she peppered our current video clip meeting with a stream of her very own queries concerning every little thing from my feline to my moms and dads to my lovemaking. The exact same meaningful brows a supervisor as soon as advised her to regulate by taping them down currently at the same time furrowed with worry and also jumped with joy.”All of that is totally authentic,”her close friend as well as co-star from “The Baby-Sitters Club, “Marla Sokoloff, stated in a different phone call.”She’s specifically that you desire her to be. Numerous times, she’s sent me a conference that she’s obtained for herself and also resembled, ‘I do not assume this is for me. You require to play this component.’That does that? She does not have a poor bone in her body.”Rae– that was birthed the year after”She’s All That”was launched and also climbed to importance on TikTok– is browsing a various Hollywood landscape

than the one Cook got in as a young adult in 1995, a period prior to social media sites or #MeToo. The more youthful celebrity mentioned Cook, in addition to ’90s fads like low-rise pants and also claw clips, with an earnest respect.”Rachael is so motivating. You can inform her heart is really pure,”Rae claimed.” She understands greater than a great deal of individuals exactly how hard this market can be, as well as she made it really clear to me that it’s

a great deal of job. “(Cook kept in mind that she avoided providing excessive occupation guidance to Rae at the danger of seeming like”some busybody old woman. “)The child of a social employee as well as a craftsmen weaver, Cook started modeling for Milk-Bone boxes as well as Target print advertisements in Minneapolis prior to scheduling her initial tryout in Los Angeles at age 15 and also winning the component: Mary-Anne in the 1995 film adjustment of”The Baby-Sitters

Club.”Months later on, one more literary duty adhered to as Becky Thatcher in Disney’s”Tom as well as Huck.” On the collection of that movie, Cook discovered herself alongside 2 stars at the elevation of kid fame: Jonathan Taylor Thomas, whom she heard state points like, “It’s tough to be a Democrat in my tax obligation brace”at age 13, and also Brad Renfro, that, she remembered, safeguarded his duty by possessing a real hatchet and also chasing after the spreading supervisor around the tryout space.”It was a really up-close as well as extremely brilliant instance of various manner ins which you can exist in Hollywood,”Cook stated.”I believe, a minimum of in my 20s, I lived someplace straight in the center of that. “Gifted with a wry funny bone as well as a commonly underutilized funny timing, Cook really hoped, most of all, for a profession like that of Parker Posey, with whom she co-starred in”The House of Yes “as well as”Josie as well as the Pussycats.”Yet without TikTok or Instagram(systems on which

Rae has a mixed 120-million-plus fans), Cook’s public personality went to the grace of Seventeen as well as Angelfire fansites, which figured out exactly how to offer her to their readers.In early meetings, she was frequently

compared to fellow Minnesotan Winona Ryder: both had fragile functions as well as cool-girl influence. Matthew Lillard, Cook’s co-star in”She’s All That”as well as the remake, saw her yet a various sort of leading woman.”I bear in mind believing to myself, ‘She can be the following Julia Roberts,'”Lillard claimed in a phone meeting. “She had that luster in her eyes as well as the glimmer regarding her individuality. She’s evil clever. Yet at the exact same time, she does not think the buzz. She’s the exemption to

the Hollywood guideline.”Further damaging the mold and mildew, among Cook’s a lot of impactful functions came not from a flick yet from a civil service news: she wrecked eggs and also boldy ruined a whole cooking area to show the results of heroin dependency. That 1997″This is your mind on medications”place, she stated,”wound up relocating the needle for me in regards to obtaining somewhat edgier functions.” Twenty years later on, she recorded a comparable advertisement, highlighting just how the battle on medicines overmuch influences individuals of shade. The upgrade, Cook claimed,” required to take place understanding what we understand currently.” While Cook’s anti-heroin advertisement confirmed extremely prominent, “heroin trendy” was likewise the leading ’90s charm suitable, proclaiming ultrathin type of body as well as promoting a frequently undesirable

criterion for versions and also starlets– as well as the average young adults that were pounded with those pictures onscreen and also in magazines.Over the program of her occupation, several supervisors asked the tiny celebrity to reduce weight days prior to recording. Among them, Cook claimed, was Peter Howitt, the supervisor of the 2001 movie”Antitrust,” that supported the insinuation that she would certainly binged at Thanksgiving with the addendum that he would certainly informed her male co-star, Ryan Phillippe, the very same point.” I simply instantly break right into splits. As well as he really felt awful and also right away took it back, “she claimed.”But it does not suggest I had not been upset. It does not indicate I do not remember it.”An agent for Howitt composed in an e-mail that the supervisor was advised by the movie’s manufacturers to talk with the stars, keeping in mind that Howitt”was sorry for being utilized as a carrier, “asked forgiveness, and also has never ever”directly had any type of concern with the physicality of any kind of stars.””She’s All That”as well as “He’s All That”are both Miramax manufacturings, though just the previous had Harvey Weinstein’s participation. While the manufacturer, that is presently offering a 23-year jail sentence for rape and also sexual offense, had not been a component on the collection of the 1999 movie, Cook did experience him throughout the years.(She likewise starred in the Miramax movies” All I Wan na Do,””The House of Yes “as well as”Blow Dry.”)Prepare thinks her supervisor went along with the then-oblivious young celebrity to those job conferences to shield her, yet she likewise advised her customer to send out Weinstein”heal “cards when he remained in the medical facility.”I assume that I heard sufficient individuals calling me grow that I thought it myself. However that had not been really real,” Cook stated.”In retrospection, was I furnished to browse the market? Absolutely no percent.”After”Josie and also the Pussycats,”a cheesy, female-centric adjustment that’s currently commonly valued, flopped at the 2001 ticket office, Cook determined to concentrate on independent movies, both due to the fact that she required to leave”flick prison” and also due to her need to be component

of that unique, prospering scene. “I actually assumed what every person informed me was right when they stated,’What we require to do currently is make certain you’re taken seriously,'”

she stated.”I certainly did points for the incorrect factors. “Pre -“Josie, “she had actually refused the component of Rogue in the “X-Men” franchise business in order to fire numerous smaller sized movies as well as prevent acting upon an environment-friendly display. The superhero duty mosted likely to her “She’s All That”co-star Anna Paquin rather.

Chef hesitates to attract even more interest to her”significant error, “keeping in mind,”As quickly as I saw the posters for it, I recognized that I would certainly slipped up.” Cook presently discovers herself in a temporal state, on the cusp of a brand-new phase. Her 15-year marital relationship to”The Vampire Diaries”star Daniel Gillies, with whom she shares 2 kids, 7-year-old Charlotte as well as 6-year-old Theo, finished in separation. The starlet Judy Greer, her pal, ultimately established her up with the manufacturer Kevin Mann. “I advise separation extremely, “Cook stated.” I’m sorry, I recognize I seem like a quitter. Yet I think it totally. Life is also brief not to be real to that you are as well as what you require.”In current years, she’s rotated to feel-good price, starring in a string of Hallmark flicks connected to different periods and also vacations, in addition to the 2020 Netflix rom-com”Love, Guaranteed,”which she additionally created. While she’s a follower of the calming style, there’s still a lot a lot more she would certainly such as to discover. Dark funnies. Posey surface. “Things that are earnest yet still weird as well as a bit curved,”she explained.As Lillard place it,” Rachael Leigh Cook is somebody to be considered. I’m extremely delighted for the globe to keep in mind that.”She’s additionally slated to star in as well as create Netflix’s coming love”A Tourist’s Guide to Love,” based upon her very own tale concept. Making has actually functioned as one method to come back the control her very early job did not have. “I’m a lifer. I’ve been around the block,”Cook claimed. “It made use of to be so not OKAY for a female to also grow older. Currently, I’m older and also in some way it’s ALRIGHT. It made use of to be, you’re never ever

mosting likely to actually have any kind of power if you’re not a male. Currently, the ladies I understand are running whatever.”